British magazine International Record Review on Arvo Pärt's Adam's Lament

Co-commissioned by the European Capitals of Culture for 2010 and 2011 (Istanbul and Tallinn respectively), as befits its prelapsarian subject matter, ‘Adam’s Lament’ for chorus and string orchestra possesses a kind of tragic grandeur which goes straight to the heart. In this premiere recording featuring the Latvian Radio Choir, Vox Clamantis and the Sinfonietta Riga, Tonu Kaljuste – one of the great interpreters of Pärt’s music – directs a performance of absolute authority and technical security, with choir and orchestra capturing the work’s magical amalgam of transcendental reflection and heart-wrenching regret at the loss of Eden.Peter Quinn, International Record Review

All the works presented here are characterized by a beatitudinal expressivity and profound introspection. The disc opens with a collection of seven ‘Songs for Vespers’ (2006). The musical language appears at once entirely familiar and utterly strange. One hears the influence of Russian Orthodox churchmusic, certainly, as well as echoes of Rachmaninov’s sacred music; but just below the surface you hear all sorts of surprising allusions (there is more than one nod to Mahler’s Smphony No.2). Just as in Silvestrov’s ‘Silent Songs’ (1974-77), given the hushed delivery and extreme intimacy of the music, its cumulative power is quite astonishing.Peter Quinn, International Record Review

Downbeat on Celebration by Arild Andersen and Tommy Smith with the Scottish National Jazz Orchestra

As soon as this album ended, I wanted to hear it again. Its concerto-like mix of masterful front-of-band solos by Norwegian bassist Arild Andersen, historic compositions associated with the ECM label and intricately developed arrangements by the likes of Christian Jacob, Trygve seim and Scottish National Jazz Orchestra director Tommy Smith conspire to make it one of the best albums of the year.Paul de Barros, Downbeat

Magico: Carta de Amor by Jan Garbarek, Egberto Gismonti and Charlie Haden is hailed by French critic Francisco Cruz